Greetings to the Drummerworld forum and all the members, especially the ones who are on the TS topic.

Todd, I have came to a "wall" with my drumming. My path was to concieve MY BAND which was very artistic, yes we were exploring progressive/art rock territories. But, the door wasn't opening for us. And to be sincere, we weren't realistic and organised. I have put my time, energy and drive in that band - and know I am very frustrated, drained and still recovering from "I can't believe I was like that - dreaming, being unrealistic." and also "I can't believe I opened my heart and soul to bandmates who didn't care for me/us as human beings who wanted to be more than musicians."
So, know I have seen my dream being shattered. And I don't know what to do.
When I started to play in bands, it was all about playing any kind of music but as the years went by, I realized that I wanted my OWN band. I was at peace with this kind of decision. Unfortunately, in Croatia (well, also in any part of the world) condeming yourself to JUST ONE BAND - is a death sentence. And I think I went that road. Now, I don't know what to do? Everyone who I know who is playing tells me "Take a break, and rethink about what do you still love about playing drums and which doors were not meant for you not go in to."

Being from a MUSICAL FAMILY (my dad - bass player, my cousins - bass players&keyboard players etc.) I know that playing music and playing drums is in my blood. It would be a sin to let that kind of gift - just drain out. In reality drums are not in forefront of my life, they are in the background but always present. If I could only balance it with my other duties in life - I believe that doors WOULD START OPENING.

In conclusion. What to do when a drummer hits a creative "wall" and a blockade in his mind/heart/soul and is very dissatisfied with any future musical engagements? Should he stop and sell his drums - and say to himself "I guees it wasn't meant for me to do this, maybe there was no blessing in that." Should I contact some successful drummers for advice who would give me an "eye opener"? If in some way you could help me, please do.

Sorry to hear of your situation and frustrations but know they are very common and you are not alone! So it's important to realize that suffering for your art is common through the ages. I have a large section in my first Methods and Mechanics DVD where I talk about how I always felt it was easier to steer the course of my own career by being freelance and not putting all my eggs in one basket with a band, or putting my career in the hands of others. Now I was in bands trying to "make it" back in the 90s but I always had one foot in and one out--and doing as many gigs with as many different people in many different styles. I knew that one of those things would lead to something somewhere. In my case it lead to a very successful session run I had coming up the ranks starting around '92. And the guy who handled my gear from sessions was ultimately the one who recommended me for a session with Styx. Long story, obviously….

Not trying to be a snake oil salesman here but in both of my DVDs I lay out concepts for success in your actions relating to gigs, getting on with others, traveling, session etiquette, and a multitude of things I learned in doing this for 40 plus years. And the drum stuff should keep you busy and sending you down avenues of practice for a good long while. So when someone comes to me for advice, I layer it all out in 9 hours of my DVDs.

Take a break, get centered, get out of your comfort zone, and get to work. And start meeting and playing with many musicians….then in time you will have a full schedule. Give yourself a few years to build it up. But don't give up! Never!

Great response Todd: I do personally think however, the game has changed considerably... I can really sympathise with where Thomas is coming from...

Sometimes trying to go for session work and gigging alone is not enough... You need to be active on line, get a Youtube channel, do everything you can really to get yourself out there so that someone will pick you up and give you that 'dream gig'. Even still you have to deal with the sea of musicians who are doing the same thing as you... It seems every man, woman, child and their dog is playing music these days.

I think it's more of an economical issue. You see kids who have parents who can afford to buy them an awesome practice room with top of the range gear, who don't really have to worry about things like working a day job, they can just sit and make Youtube videos all day, or can go to the world's top music schools without financial issues bugging them. They can quite easily find the time to play in a couple of bands and easily tour without worrying about 'where is the money for gas and food going to come from?' Plus, I'm sure that if I could spend all day in a practice room and didn't have to worry about a job etc I'd be nailing out some insane drumming.

There's also the other example of someone who had a dad (or mum) who 'was in a band in the 80s/90s' that is doing everything they can to make sure their kid has better successes. I've met a couple of guys whos parents (or other family member/family friend) just sorted them out with a label, or a buddy who would offer them sessions over any one else in their top of the line studio, regardless of their drumming. You want to tour with a top pop artist? No Problem... Back to the old argument of 'it's not what you know, but who you know'.

I know we can all sit here and list the reasons why we 'can't' do something, which sometimes for me, is listing excuses why things aren't working for you without addressing the real problems. I honestly do agree with Thomas that sometimes when you do hit 'the wall' it seems like the end of the road and there have been times in my drumming where I just want to sell everything and give up. That or the whole thing just make you extremely cynical about everything - probably like this post ha ha.

I work every day in a full time job because my parents aren't millionaires and I had to work when I was a kid to save up for my drumming gear, which still has to do now because of the sheer cost of equipment. When you're a gear in 'the machine' and getting practice in whenever you can (even though you're falling asleep half the time), it can seem tough. Also, you have no idea when you're next gig is going to be because you can't afford to quit your job, but you can't afford to quit music. It's a dilemma I am sure a lot of people face. Not to mention creativity going dry... I recently have just joined another band, which is only just starting up... I say to myself 'at least it's something to keep me going'.

I just try and practice when I get home from work, or before I go. Luckily I have an electronic kit so my neighbours don't complain... It's not a real kit, but it's the best I've got. Just stay the course and keep motivated, try and find a band just to keep you playing and I'm sure you'll be ok Thomas!

If you don't mind Thomas i'll add my perspective, please take from it what you will.

I am 26 and have been a 'pro' musician for 6 years and it hasn't been easy. There have been many times in my short career where i have felt at a dead end both creatively and professionally. Certain things have helped me continue to push forward. Firstly keep practicing, learning and getting lessons. Learning new things will breathe fresh life into your playing and allow you to meet new musicians.

Secondly get both of Todds DVDs as they are great also I would recommend getting Zoro's book The Big Gig. The book is full of stories of world class musicians who find themselves in the same position as you including one where a sax player finished a world tour with Michael Jackson and ended up back in NY playing weddings and all the usual everyday musician things. After 2 years of this with no other 'big gig' he was almost ready to quit but stuck at it with a little help from Zoro. Couple of months later Sting phones and he ends up being his sax player. 2 steps back for one big leap forward.

This book really clarified a few things when I was in the same position a couple of years back. I got fired from a band that was with really close friends and besides being financially hard was a massive knock to my confidence. I had to take a couple of steps back to re-evaluate and work even harder.

Finally i believe you make your own luck through hard work and getting out there playing (something I am not great at and will be rectified this year) so hit up some jams, meet some new people and make some music. Maybe the band you want and will take you where you want to be in will be made up guys you meet playing weddings?

Another story which may help

The same band i was fired from recorded our demo at a local studio. The studio owner and I hit it off continued to do other stuff together with various bands over time and about 2 weeks after i got fired a room became available for rent in his studio and i took it.

Couple months after that some guy is in the studio editing and we get chatting. Turns out it's an Aussie guitarist who works with Kylie Minogue and loads of other cool guys. He goes about his business and we meet a couple of more times throughout the year and then my original band need a keys player. Put a thing on FB and he says he would be up for it....cool! he's a monster player and producer and knows loads of people. So our album now has guests that I would never have contact with. When it is done it might be sent of to Roland, Sony etc
He also got me an Edinburgh Fringe show which he was playing on and that bought me a new car.

All because my wedding band needed a studio and the one we used was the only one available.

This is a deep topic that has 10 million variables. Way to long to discuss in a forum like this really. But my experience is mine and mine alone, like yours is yours. I didn't have millionaire parents, but I was lucky to have musical parents and grow up in a city like Chicago with a scene of great players. That way my experience and the only place of expertise I can advise from….my own experience. We are dealt the cards we have in life. The rest is up to us.

If you live in Fyfe, North Dakota…you won't have the same luck as someone in large metropolitan city. You have to get out of there.

One thing, I will never be negative in my advice. So if you wish to criticize me there, go ahead but do it privately. I will always be encouraging in the darkest times because that's my nature. I'm trying to help someone who willingly came to me…not make it seem impossible to continue down a creative path.

You must put in the work and make things happen. That's how I did it, and how we all must to continue doing this for a livelihood. Nothing comes easy, and it usually won't. (How's that for negativity?)

I hate to be negative too. I think we all know times are hard as of late, and sometimes it's just annoying when things don't go your way.

I was reading Steve Gadd's bio and it's quite inspiring. It just goes to show success can appear at any point in your life, but just working hard and staying the course will present opportunities.

I recently watched a DVD about Jacque Fresco - he said which I agree, that creativity is stifled by economical reasons. The inventor who is broke can't make the prototype he has designed, because he can't make the raw materials to attain investment. It's true I think with anything. Hell, even Mozart died a pauper, but it's what you do within this life that you will be remembered for, not the fortunes amassed from that success.

Todd,
Although I was unfortunately unable to attend the Rock To The Rescue concert for tornado relief last night, I just wanted to thank you for your part in what sounds like a very successful event and from the video I've seen, a very good show. I have a fellow musician friend who lost his house in Washington, IL as well as several friends who lost their homes in Gifford, IL which is just down the road from me about 8 miles. What a great thing you guys did for them, thank you again so much. I wish I could have been there, it's quite the buzz around here today.

It was a great and memorable night. We raised a lot of money and all bands, crew, everything was donated and every single cent went to those in need. Thanks for the nice note and I hope everyone gets back on their feet soon.

It was a great and memorable night. We raised a lot of money and all bands, crew, everything was donated and every single cent went to those in need. Thanks for the nice note and I hope everyone gets back on their feet soon.

Cheers-
Todd

I also saw the video of Gary playing with REO, warmed my heart. I grew up in Champaign, used to deliver papers in the neighborhood where they rehearsed.

Thanks for a great clinic last night at Dicenso's Todd. Lots of great druming and info. Hope you had a good flight back this morning and congrats and best of luck on the new addition your expecting in February.

I purchased your first Mechanics DVD from GC a few years ago and have found it to be very informative and helpful. Thanks for putting out an excellent, coherent and very useful product. I have a basic question regarding a song I'm learning; it may be familiar to you since it came out of Chicago and your current band has ties to the area and probably also the historical music.

Vehicle by Ides Of March...

I find that drum track to have a fantastic feel, "bounce" and groove to it. If it is played authentically and as closely to the original as possible, it seems to be quite a challenge and have some nice skill development opportunities.

My question is; if played as the original, would you call that an intermediate level instructional track or advanced ?

Thanks for the kind words and I'm glad you enjoyed the MM DVD. You're question is peculiar as I don't think (or judge) pieces in terms of advanced or whatever. If anything is really good and done well (no matter how simple physically) it could be described as advanced playing. Steve Gadd or Steve Jordan playing 2 & 4 is kind of…advanced because they do it so masterfully. So I can't really answer what I'd call that particular tune. Make sense? Sorry I'm not really giving an answer. What's hard for someone may be easy for someone else. So, it's up to you.

Todd, Love both of your DVD's and your playing. Thank you for taking the time to be inspirational and thoughtful enough to pass on the ideas to help drummers continue to progress. Forgive me if this has been asked already: I'm constantly trying to improve my bass drum sound. I use Aquarian batters and reso heads. I've achieved the sound I like but am constantly wondering about the muffling factor. I currently use the DW hour glass pillow barely touching both heads.

I was wondering if you could give some insight regarding material (pillows, rolled blankets etc) and to what degree you touch them to the head, i.e., tape them on, velcro, etc. Or any other method used for muffling.

One last thing; your mics are Audix per your DVD. I have an AKG D112 for my kick. Would it really benefit me to replace that with the Audix?
Thank you,
Stuart

Thanks for the kind words and I'm glad you enjoyed the MM DVD. You're question is peculiar as I don't think (or judge) pieces in terms of advanced or whatever. If anything is really good and done well (no matter how simple physically) it could be described as advanced playing. Steve Gadd or Steve Jordan playing 2 & 4 is kind of…advanced because they do it so masterfully. So I can't really answer what I'd call that particular tune. Make sense? Sorry I'm not really giving an answer. What's hard for someone may be easy for someone else. So, it's up to you.

Cheers-
TS

Hi there Todd,

I do understand where you are coming from and also agree that even a simple sequence can be played at an advanced level; a great analogy there is vibrato on guitar. One note, one pluck and either it can sound smooth, even and pleasing or be heard as "tense", "frantic" or uneven and disconcerting.Of course the tense and frantic might be good in some cases and the intended result.

Where I would question your answer is that some songs require a level of development to be able to at least play the authentic parts...in time, consistently, etc. For instance, a beginning drummer is not going to sit down and play Immigrant Song or a fast texas shuffle because those things take a reasonable amount of time to develop the physical capacity and level of muscle memory. Does that make sense?

So, in terms of Vehicle, that was where my question was aimed at and what I was trying to put a "label" on so to speak. I don't think it is peculiar from a mechanics point of view, although it may be from an artistic point of view. Maybe I fell short in the way I asked the question, but I do think it is very reasonable to assess songs as requiring what one would call a "beginning". "intermediate" or "advanced" level of mechanical development/facility to be able to play them. My take is that Vehicle is a fairly mechanically advanced groove to play as recorded and I was interested in your take....thanks

Thanks for the kind words--they are appreciated! You know, if I'm playing rock I just go for a down pillow. In all my years of recording I've never had an engineer fuss much with that and it sounds good straight away. And I've done many records in the past with a D112. I just dig the Audix. Slightly different flavor, that's all. And it sounds great in a gong drum. Check one out and see if you dig it.

Thanks again!

Hey Shemp,

I see where you are coming from, but I still can say I don't think that way. In terms of putting a label on something, you know?. Why is that something that interests you? Why put a label on it? Again, what's easy for someone might be difficult for others. It's far from advanced in my mind if we are comparing it to Mahavishnu stuff or Vinnie with Holdsworth. (There…I just gave it some context.) So in that context, no…it's pretty simple... if you have developed the skills of groove, dynamic shaping, feel, and the necessary ingredients to give it that lope. Now, in the context of just that---those are some skills needed to play well which would have advanced leanings. See what I mean? I say just enjoy the work, work hard, put it in your vocabulary bag and move on to other things that interest you. But declaring a performance as hard or easy is purely up to the individual attempting it.

Todd I hadn't been to your webpage in awhile and saw that you redid it. Looks great! I have a question about the Rocket Toms. THose are aluminum wrapped with an outer play of bubinga? DO they also have an inner ply of bubinga or is that just paint? If there's an inner ply, how do they effect the sound from the normal aluminum. Thanks for taking the time to answer these questions!

I see where you are coming from, but I still can say I don't think that way. In terms of putting a label on something, you know?. Why is that something that interests you? Why put a label on it? Again, what's easy for someone might be difficult for others. It's far from advanced in my mind if we are comparing it to Mahavishnu stuff or Vinnie with Holdsworth. (There…I just gave it some context.) So in that context, no…it's pretty simple... if you have developed the skills of groove, dynamic shaping, feel, and the necessary ingredients to give it that lope. Now, in the context of just that---those are some skills needed to play well which would have advanced leanings. See what I mean? I say just enjoy the work, work hard, put it in your vocabulary bag and move on to other things that interest you. But declaring a performance as hard or easy is purely up to the individual attempting it.

My best!
TS

Hi Todd,

Thanks for taking the time to articulate your thoughts on this topic and to respond to my thoughts. I do see your point of view and I have a great deal of respect for it.

I don't think I could comprehend even the listening portion of the Holdsworth or Mahavishnu programs, let alone dream of playing them, so, yea, certainly Vehicle is not at a level of technical mastery or meter mastery as those types of things.

You did touch on the items where my suspicions lie relative to the subjective "difficulty" in Vehicle though....and just the "lope" part is something I would say is not easy to come by. There is a certain touch to the kick drum and rhythm to the basic groove that I find very compelling....and that force one to work on some nice foundational skills. Some more "technical" and seemingly more difficult songs were, in the end result (and lots of work), seemingly easier to learn and play and that is where the questions started coming from about Vehicle.

The only reason I like to label something like that is to get a feel for how I'm progressing and what level I'm at or approaching....that's all. Let's call it milestones for mechanics ;-)

Hey, well sorry you missed a few. I did the downtown GC last October and DiCenso's (for a 3rd time) in November I think it was. So it might be a while until I'm back. Hope you keep an eye out when I do. Thanks a lot!

Dominick-

Thanks, man. Check out the SCX25As by Audix for overheads. They are MVPs. Expensive but not like some of the high end German/Austrian makes, and the SCX25A's hang in there with mics 3 times the price. Hope they work for you.

Hey, well sorry you missed a few. I did the downtown GC last October and DiCenso's (for a 3rd time) in November I think it was. So it might be a while until I'm back. Hope you keep an eye out when I do. Thanks a lot!

Todd, the snare gallery is amazing, I am also a custom builder and know how much time it takes to clean, photograph and post a large collection, although I can't say I have over 70 in my possession at one time, you know, you could be a hoarder.

Yes, my newly redesigned website has my schedule. I also post about clinics on the "Official Todd Sucherman' page on Facebook. Come "like" that page if you're on FB. But the new website has my schedule, hours of audio/video, gear pages including a 5 page snare gallery, etc. Hope you guys check it out.

Todd, are you touring with Styx this summer? If so, I will finally be able to see you in Western New York at Artpark August 19th. If you've never been there, it's fantastic. A beautiful park, you would never guess you're in New York. Anyway, any clinics coming to Buffalo? Ontario? Toronto?

Just got back from a trip to Chicago and ended up in the Hard Rock Cafe there. They had your Pearl kit up behind the bar on display. I always wondered if those instruments on display were actual artist's instruments. It could've been, but part of me thinks they find something similar to what you played, had you sign some heads, and go put it on display. They also had Ben E. Carlos's kit mounted on a wall.

Yes I am and I'll be there. We did Artpark in '04 or '05 and had about 20,000 at the gig. Hope this one is just as good! And hope you dig it. No clinics on the books…I have to be invited to do them and do not choose where I do them. Thanks, man.

Bo Eder--

Yes, that was indeed one of my kits. That was the "B" rig for several years. Thanks for the note and cool you saw the old girl there.

Hey Todd, I am a huge Styx fan and you are truly an inspiration for me to play drums! I saw you live with Styx a few months ago and it was awesome. Anyway, I have a show coming up this week and I was just wondering what are some drums, cymbals, or auxiliary instruments to help make my sound pop and sound different from the others. At this point, I have a china, small bell, 3 woodblocks (small, medium, large), a cowbell, and a microsnare along with the other basic parts of a drumset (13 inch snare, bass, 3 toms, ride, high hat). I noticed that you had what almost looked like a floor tom upright? Also would would probably be your favorite cymbal? Any toms that you recommend?

Thanks for the kind words--they are appreciated! Well, I'm not really sure how to answer your questions. What makes your playing pop is really mostly in your hands. It's how you play and hit the drums. Not how many unique sound sources you have around the kit. I have drums and cymbals…and that's what really interests me. I hope the gigs went well for you!

I have a jazz background and some of those ideas there are based on Smith's famous solo from Journey's live record called Captured. (Check that out and it will be obvious.) Smith few up a jazz drummer so the genesis comes from that entirely. Then it was up to me to incorporate my ideas in that framework. When you compare the two there are some similarities yet totally different. It honestly was my heartfelt tribute to someone who had meant very much to me.

The whole solo is transcribed in the Methods & Mechanics book, which has all the songs and solos from the first DVD along with a CD of performances and play alongs. Hope it helps!

I love your drumming style and your ideas. They really help inspire me and push my playing to a new level. Anyway, quick question. In this solo https://www.youtube.com/watch?v=KnQkDrb07PY what is the sticking for that lick your doing in the beginning? It sounds like your doing triplets between your left hand and kick, accenting 2 and 4 on the snare, and quarters with your right hand to get a sort of hemiola thing going on, but then you throw in those doubles which makes my mind explode. What exactly are you doing there, if you remember? Thanks for taking your time to read this, and for inspiring us drummers and musicians.

Thanks for your kind words! They are appreciated very much. Well, I'm not sure what part you mean as that clip begins at the end of a transition between a biao and a tom grove that modulates into a fast shuffle. But that was a long time ago, and even if I know what I played I'm not sure I could convey it properly to you here.

If you have the first Methods & Mechanics DVD, ALL that stuff has been lovingly transcribed in the Methods & Mechanics book by Brad Schlueter who has astonishing transcribing skills. So some of that stuff may be found in there. There should hopefully be enough in there to keep you busy for a bit anyway!

Apologies for being unable to supply you a proper answer and thanks again-
Cheers from Toronto-
TS